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Lot 717
An early American dolls house, probably 1930s or 1940s, the house with two storeys, an attic with dormer window, glass glazed windows, and a veranda to the front, access to the interior through rear opening walls and roof hatch, the interior with woven stair carpet, wallpapered walls, electric lights (U.S. specification) and tile effect floors, the house set on an artificial grass lawn and mounted on a rotating turntable, the house 100cm high, on turntable 180cm high overall
Lot 735
Early 20th Century Middle Eastern (Persian) carpet, the brick-red field with central ogee medallion within flower filled borders, matching spandrels and main border, 142cm x 200cm Condition: Fringed short ends have been trimmed. General wear and colour fading to extreme borders of long sides (flat woven rather than selvages) Isolated areas of worn pile to field but overall colour still decent in most places. Please see extra images and TELEPHONE department if you requite further information.
Lot 248C
A pair of carved bronzed wood panels by Anton Leone Bulletti, Florence, dated 1864, in the baroque style, featuring baskets of flowers, Satyrs, , grotesque masks each with elaborate foliate scroll carving and ivory painted grounds, each 290cm high and of varying widths between 80cm and 89cm Provenance: Lartington Hall, Co. Durham Literature: Rosamond Allwood, `The Eminent Italian Artist, Signor Bulletti', Furniture History Vol. 25 (1989), pp. 250-256, figs. 2 and 3. Following a visit to Rome in 1854 the fourth Duke of Northumberland decided to redecorate the interiors of Alnwick with wood carvings in an Italianate seicento manner, under the direction of the architect Anthony Salvin. This was in contrast to Salvin's chosen mediaeval style for the exteriors and rather than import the wood-work from Italy, Salvin saw this as an opportunity to set up a school of Italian style carving at the castle. It was on this basis that he invited the Tuscan carver Anton Leone Bulletti (b.1824), to be its director with the Alnwick carver John Brown acting as foreman. A total of twenty-one carvers were engaged from London, Newcastle, Sunderland, Edinburgh and Glasgow in advance of the carving studio's opening in 1855. It was here that the ornately carved doors, shutters and ceiling panels were produced for the castle. By 1860, the majority of the interior work was complete at which point Bulletti left his post at Alnwick to set up a business as a carver and draftsman at 30 High Bridge, Newcastle. One of his first commissions was for the Rt. Revd. Monsignor Witham, at Lartington Hall, Co. Durham. This followed Withham's decision to embark on an ambitious programme of building works under the direction of the architect Joseph Hanson. These included a grand entrance corridor and port cochere completed in 1863, for which Witham commissioned Bulletti to make a twelve foot high mirror frame and a series of carved wall panels including the present lot. Further carvings are thought to have been supplied by Bulletti for Thomas Witham's private suite above the servant's hall. Unlike the style of his work at Alnwick, Bulletti's work at Lartington was heavily influenced by the carvings of Giuseppe Maria Bonzanigo who produced carvings for the Royal palaces in Turin during the 1780s. In contrast to his English contemporaries such as Gerard Robinson and the Warwick school of carvers, who worked in a more three dimensional style, Bulletti's mounted his carving on panels of contrasting colour. The entrance hall mirror frame was described in the Teesdale Mercury in 1863 ... A Splendid specimen of wood carving of the highest order. In the centre of the bottom of the frame is the crest of Mr Witham supported on either side by dragons with eagle's heads. From these spring the conventional foliage, which in the present instance consists of the thistle, the convolvulus and the Primrose. About the centre of each side of the frame, the allegorical figures of two storks destroying a serpent are introduced and above these is a panel bearing on one side the date, and on the other side the motto, 'solo virtus victit'...This magnificent work of art arrived at Lartington Hall last week. Bulletti was also commissioned by the Silvertops of Minsteracres, near Consett, Co. Durham - unsurprisingly they had close connections with the Withams and similarly employed Joseph Hanson. In 1865 Bulletti moved to Newcastle's bustling Grey Street where he remained until 1869. His achievements during this period included a carved walnut table exhibited at the Fine Art Exhibition at Newcastle town hall in 1866. This was favourably received....`a magnificent work of art, poetical, vigorous in conception and design whilst manipulative skill displayed in the execution is of the most exquisite character'. However despite the table's great merit it still remained for sale in 1870 at the price of 400 guineas. In the 1871 Newcastle census Bulletti described himself as a designing artist of forty seven and a widower with two sons. He remained in the city until 1878, variously listing himself in local directories as a sculptor, carver, gilder and more intriguingly as a carpet designer. Despite their contrasting styles, Thomas Tweedy, proprietor of Newcastle's leading carving firm, commissioned Bulletti to carve a large panel for Sir Hugh Taylor at Chipchase Castle. It was titled 'The March of Time' and its carving was executed in higher relief than his work at Lartington and stylistically it was more akin to early 17th century Flemish work. At the end of 1878 Bulletti moved to London to take up a position as chief instructor at the newly created `School of Art Wood- Carving' at 3 Somerset Street, Portman Square, before transferring to rooms at the Albert Hall. However the school gained a reputation for attracting titled women students for whom carving was a pleasant hobby rather than a job. Consequently the school was not popular with the trade and furthermore its first exhibition of students' work in 1880 drew criticism from the Cabinet Maker. In 1882 Bulletti left the school due to ill health. However the school continued under the management of Miss Eleanor Rowe, one of his most talented pupils, until 1902. Bulletti continued to produce designs, including an 'Artistical Sideboard' which incorporated elements based on his work at Lartington some twenty years earlier. Bulletti was last recorded at Maude Road, off the Fulham road in 1885 but was no longer listed in directories as a carver. A small Bulletti panel sold Anderson & Garland, 18 June 2019, lot 466 and a further example is in the collection of the National Trust at Hughenden, Buckinghamshire.
Lot 248
A pair of carved bronzed wood panels by Anton Leone Bulletti, Florence, dated 1864, in the baroque style, featuring baldechins and goats heads each with elaborate foliate scroll carving and ivory painted grounds, each 290cm high and of varying widths between 80cm and 89cm; together with a pair of architectural spandrels, with some losses to carving, 196cm high, 180cm wide Provenance: Lartington Hall, Co. Durham Literature: Rosamond Allwood, `The Eminent Italian Artist, Signor Bulletti', Furniture History Vol. 25 (1989), pp. 250-256, figs. 2 and 3. Following a visit to Rome in 1854 the fourth Duke of Northumberland decided to redecorate the interiors of Alnwick with wood carvings in an Italianate seicento manner, under the direction of the architect Anthony Salvin. This was in contrast to Salvin's chosen mediaeval style for the exteriors and rather than import the wood-work from Italy, Salvin saw this as an opportunity to set up a school of Italian style carving at the castle. It was on this basis that he invited the Tuscan carver Anton Leone Bulletti (b.1824), to be its director with the Alnwick carver John Brown acting as foreman. A total of twenty-one carvers were engaged from London, Newcastle, Sunderland, Edinburgh and Glasgow in advance of the carving studio's opening in 1855. It was here that the ornately carved doors, shutters and ceiling panels were produced for the castle. By 1860, the majority of the interior work was complete at which point Bulletti left his post at Alnwick to set up a business as a carver and draftsman at 30 High Bridge, Newcastle. One of his first commissions was for the Rt. Revd. Monsignor Witham, at Lartington Hall, Co. Durham. This followed Withham's decision to embark on an ambitious programme of building works under the direction of the architect Joseph Hanson. These included a grand entrance corridor and port cochere completed in 1863, for which Witham commissioned Bulletti to make a twelve foot high mirror frame and a series of carved wall panels including the present lot. Further carvings are thought to have been supplied by Bulletti for Thomas Witham's private suite above the servant's hall. Unlike the style of his work at Alnwick, Bulletti's work at Lartington was heavily influenced by the carvings of Giuseppe Maria Bonzanigo who produced carvings for the Royal palaces in Turin during the 1780s. In contrast to his English contemporaries such as Gerard Robinson and the Warwick school of carvers, who worked in a more three dimensional style, Bulletti's mounted his carving on panels of contrasting colour. The entrance hall mirror frame was described in the Teesdale Mercury in 1863 ... A Splendid specimen of wood carving of the highest order. In the centre of the bottom of the frame is the crest of Mr Witham supported on either side by dragons with eagle's heads. From these spring the conventional foliage, which in the present instance consists of the thistle, the convolvulus and the Primrose. About the centre of each side of the frame, the allegorical figures of two storks destroying a serpent are introduced and above these is a panel bearing on one side the date, and on the other side the motto, 'solo virtus victit'...This magnificent work of art arrived at Lartington Hall last week. Bulletti was also commissioned by the Silvertops of Minsteracres, near Consett, Co. Durham - unsurprisingly they had close connections with the Withams and similarly employed Joseph Hanson. In 1865 Bulletti moved to Newcastle's bustling Grey Street where he remained until 1869. His achievements during this period included a carved walnut table exhibited at the Fine Art Exhibition at Newcastle town hall in 1866. This was favourably received....`a magnificent work of art, poetical, vigorous in conception and design whilst manipulative skill displayed in the execution is of the most exquisite character'. However despite the table's great merit it still remained for sale in 1870 at the price of 400 guineas. In the 1871 Newcastle census Bulletti described himself as a designing artist of forty seven and a widower with two sons. He remained in the city until 1878, variously listing himself in local directories as a sculptor, carver, gilder and more intriguingly as a carpet designer. Despite their contrasting styles, Thomas Tweedy, proprietor of Newcastle's leading carving firm, commissioned Bulletti to carve a large panel for Sir Hugh Taylor at Chipchase Castle. It was titled 'The March of Time' and its carving was executed in higher relief than his work at Lartington and stylistically it was more akin to early 17th century Flemish work. At the end of 1878 Bulletti moved to London to take up a position as chief instructor at the newly created `School of Art Wood- Carving' at 3 Somerset Street, Portman Square, before transferring to rooms at the Albert Hall. However the school gained a reputation for attracting titled women students for whom carving was a pleasant hobby rather than a job. Consequently the school was not popular with the trade and furthermore its first exhibition of students' work in 1880 drew criticism from the Cabinet Maker. In 1882 Bulletti left the school due to ill health. However the school continued under the management of Miss Eleanor Rowe, one of his most talented pupils, until 1902. Bulletti continued to produce designs, including an 'Artistical Sideboard' which incorporated elements based on his work at Lartington some twenty years earlier. Bulletti was last recorded at Maude Road, off the Fulham road in 1885 but was no longer listed in directories as a carver. A small Bulletti panel sold Anderson & Garland, 18 June 2019, lot 466 and a further example is in the collection of the National Trust at Hughenden, Buckinghamshire.
Lot 294
A large woven carpet, in Savonnerie style, 20th century, the cream field decorated with medallion reserves in the neoclassical style, the central field decorated with borders of repeated floral swags and scrolling acanthus, the outer field decorated with a border of flowering roses, the outer medallions centred by musical trophies, the outermost border decorated with repeated patera motifs, Please note: This carpet measures approximately 693 x 441cm
Lot 248B
A pair of carved bronzed wood panels by Anton Leone Bulletti, Florence, dated 1864, in the baroque style, grotesque green man masks, goats heads and a dancing maiden in a central roundel, each with elaborate foliate scroll carving and ivory painted grounds, each 290cm high and of varying widths between 80cm and 89cm Provenance: Lartington Hall, Co. Durham Literature: Rosamond Allwood, `The Eminent Italian Artist, Signor Bulletti', Furniture History Vol. 25 (1989), pp. 250-256, figs. 2 and 3. Following a visit to Rome in 1854 the fourth Duke of Northumberland decided to redecorate the interiors of Alnwick with wood carvings in an Italianate seicento manner, under the direction of the architect Anthony Salvin. This was in contrast to Salvin's chosen mediaeval style for the exteriors and rather than import the wood-work from Italy, Salvin saw this as an opportunity to set up a school of Italian style carving at the castle. It was on this basis that he invited the Tuscan carver Anton Leone Bulletti (b.1824), to be its director with the Alnwick carver John Brown acting as foreman. A total of twenty-one carvers were engaged from London, Newcastle, Sunderland, Edinburgh and Glasgow in advance of the carving studio's opening in 1855. It was here that the ornately carved doors, shutters and ceiling panels were produced for the castle. By 1860, the majority of the interior work was complete at which point Bulletti left his post at Alnwick to set up a business as a carver and draftsman at 30 High Bridge, Newcastle. One of his first commissions was for the Rt. Revd. Monsignor Witham, at Lartington Hall, Co. Durham. This followed Withham's decision to embark on an ambitious programme of building works under the direction of the architect Joseph Hanson. These included a grand entrance corridor and port cochere completed in 1863, for which Witham commissioned Bulletti to make a twelve foot high mirror frame and a series of carved wall panels including the present lot. Further carvings are thought to have been supplied by Bulletti for Thomas Witham's private suite above the servant's hall. Unlike the style of his work at Alnwick, Bulletti's work at Lartington was heavily influenced by the carvings of Giuseppe Maria Bonzanigo who produced carvings for the Royal palaces in Turin during the 1780s. In contrast to his English contemporaries such as Gerard Robinson and the Warwick school of carvers, who worked in a more three dimensional style, Bulletti's mounted his carving on panels of contrasting colour. The entrance hall mirror frame was described in the Teesdale Mercury in 1863 ... A Splendid specimen of wood carving of the highest order. In the centre of the bottom of the frame is the crest of Mr Witham supported on either side by dragons with eagle's heads. From these spring the conventional foliage, which in the present instance consists of the thistle, the convolvulus and the Primrose. About the centre of each side of the frame, the allegorical figures of two storks destroying a serpent are introduced and above these is a panel bearing on one side the date, and on the other side the motto, 'solo virtus victit'...This magnificent work of art arrived at Lartington Hall last week. Bulletti was also commissioned by the Silvertops of Minsteracres, near Consett, Co. Durham - unsurprisingly they had close connections with the Withams and similarly employed Joseph Hanson. In 1865 Bulletti moved to Newcastle's bustling Grey Street where he remained until 1869. His achievements during this period included a carved walnut table exhibited at the Fine Art Exhibition at Newcastle town hall in 1866. This was favourably received....`a magnificent work of art, poetical, vigorous in conception and design whilst manipulative skill displayed in the execution is of the most exquisite character'. However despite the table's great merit it still remained for sale in 1870 at the price of 400 guineas. In the 1871 Newcastle census Bulletti described himself as a designing artist of forty seven and a widower with two sons. He remained in the city until 1878, variously listing himself in local directories as a sculptor, carver, gilder and more intriguingly as a carpet designer. Despite their contrasting styles, Thomas Tweedy, proprietor of Newcastle's leading carving firm, commissioned Bulletti to carve a large panel for Sir Hugh Taylor at Chipchase Castle. It was titled 'The March of Time' and its carving was executed in higher relief than his work at Lartington and stylistically it was more akin to early 17th century Flemish work. At the end of 1878 Bulletti moved to London to take up a position as chief instructor at the newly created `School of Art Wood- Carving' at 3 Somerset Street, Portman Square, before transferring to rooms at the Albert Hall. However the school gained a reputation for attracting titled women students for whom carving was a pleasant hobby rather than a job. Consequently the school was not popular with the trade and furthermore its first exhibition of students' work in 1880 drew criticism from the Cabinet Maker. In 1882 Bulletti left the school due to ill health. However the school continued under the management of Miss Eleanor Rowe, one of his most talented pupils, until 1902. Bulletti continued to produce designs, including an 'Artistical Sideboard' which incorporated elements based on his work at Lartington some twenty years earlier. Bulletti was last recorded at Maude Road, off the Fulham road in 1885 but was no longer listed in directories as a carver. A small Bulletti panel sold Anderson & Garland, 18 June 2019, lot 466 and a further example is in the collection of the National Trust at Hughenden, Buckinghamshire.
Lot 248A
A pair of carved bronzed wood panels by Anton Leone Bulletti, Florence, dated 1864, in the baroque style, bearing strapwork framed cabochons inscribed 'MAECENATI SUO IDIBUS DECUMBRIS. 1864.' and 'ADDICTISIMUS' , each with elaborate foliate scroll carving and ivory painted grounds, each 290cm high and of varying widths between 80cm and 89cm Provenance: Lartington Hall, Co. Durham Literature: Rosamond Allwood, `The Eminent Italian Artist, Signor Bulletti', Furniture History Vol. 25 (1989), pp. 250-256, figs. 2 and 3. Following a visit to Rome in 1854 the fourth Duke of Northumberland decided to redecorate the interiors of Alnwick with wood carvings in an Italianate seicento manner, under the direction of the architect Anthony Salvin. This was in contrast to Salvin's chosen mediaeval style for the exteriors and rather than import the wood-work from Italy, Salvin saw this as an opportunity to set up a school of Italian style carving at the castle. It was on this basis that he invited the Tuscan carver Anton Leone Bulletti (b.1824), to be its director with the Alnwick carver John Brown acting as foreman. A total of twenty-one carvers were engaged from London, Newcastle, Sunderland, Edinburgh and Glasgow in advance of the carving studio's opening in 1855. It was here that the ornately carved doors, shutters and ceiling panels were produced for the castle. By 1860, the majority of the interior work was complete at which point Bulletti left his post at Alnwick to set up a business as a carver and draftsman at 30 High Bridge, Newcastle. One of his first commissions was for the Rt. Revd. Monsignor Witham, at Lartington Hall, Co. Durham. This followed Withham's decision to embark on an ambitious programme of building works under the direction of the architect Joseph Hanson. These included a grand entrance corridor and port cochere completed in 1863, for which Witham commissioned Bulletti to make a twelve foot high mirror frame and a series of carved wall panels including the present lot. Further carvings are thought to have been supplied by Bulletti for Thomas Witham's private suite above the servant's hall. Unlike the style of his work at Alnwick, Bulletti's work at Lartington was heavily influenced by the carvings of Giuseppe Maria Bonzanigo who produced carvings for the Royal palaces in Turin during the 1780s. In contrast to his English contemporaries such as Gerard Robinson and the Warwick school of carvers, who worked in a more three dimensional style, Bulletti's mounted his carving on panels of contrasting colour. The entrance hall mirror frame was described in the Teesdale Mercury in 1863 ... A Splendid specimen of wood carving of the highest order. In the centre of the bottom of the frame is the crest of Mr Witham supported on either side by dragons with eagle's heads. From these spring the conventional foliage, which in the present instance consists of the thistle, the convolvulus and the Primrose. About the centre of each side of the frame, the allegorical figures of two storks destroying a serpent are introduced and above these is a panel bearing on one side the date, and on the other side the motto, 'solo virtus victit'...This magnificent work of art arrived at Lartington Hall last week. Bulletti was also commissioned by the Silvertops of Minsteracres, near Consett, Co. Durham - unsurprisingly they had close connections with the Withams and similarly employed Joseph Hanson. In 1865 Bulletti moved to Newcastle's bustling Grey Street where he remained until 1869. His achievements during this period included a carved walnut table exhibited at the Fine Art Exhibition at Newcastle town hall in 1866. This was favourably received....`a magnificent work of art, poetical, vigorous in conception and design whilst manipulative skill displayed in the execution is of the most exquisite character'. However despite the table's great merit it still remained for sale in 1870 at the price of 400 guineas. In the 1871 Newcastle census Bulletti described himself as a designing artist of forty seven and a widower with two sons. He remained in the city until 1878, variously listing himself in local directories as a sculptor, carver, gilder and more intriguingly as a carpet designer. Despite their contrasting styles, Thomas Tweedy, proprietor of Newcastle's leading carving firm, commissioned Bulletti to carve a large panel for Sir Hugh Taylor at Chipchase Castle. It was titled 'The March of Time' and its carving was executed in higher relief than his work at Lartington and stylistically it was more akin to early 17th century Flemish work. At the end of 1878 Bulletti moved to London to take up a position as chief instructor at the newly created `School of Art Wood- Carving' at 3 Somerset Street, Portman Square, before transferring to rooms at the Albert Hall. However the school gained a reputation for attracting titled women students for whom carving was a pleasant hobby rather than a job. Consequently the school was not popular with the trade and furthermore its first exhibition of students' work in 1880 drew criticism from the Cabinet Maker. In 1882 Bulletti left the school due to ill health. However the school continued under the management of Miss Eleanor Rowe, one of his most talented pupils, until 1902. Bulletti continued to produce designs, including an 'Artistical Sideboard' which incorporated elements based on his work at Lartington some twenty years earlier. Bulletti was last recorded at Maude Road, off the Fulham road in 1885 but was no longer listed in directories as a carver. A small Bulletti panel sold Anderson & Garland, 18 June 2019, lot 466 and a further example is in the collection of the National Trust at Hughenden, Buckinghamshire.
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